The stranger gave the matter no attention and began again to speak in the same deliberate, uninflected
monotone in which he had delivered his first sentence:
Her annoyance with feminism (which she for some reason represents as a rather ideologically monolithic enterprise), because of what she sees as its separatism and insistence on an abstract female solidarity uninflected
by the concrete relations of individual existences, blocks her appreciation of dieas in feminist theory that might be of real utility to her.
To a great extent, the look of Krushenick's paintings remained remarkably consistent across the thirty-seven-year span covered by this selection: a limited palette of groovily bright and punchy colors; a combination of large areas of uninflected
color with (often stripelike) patterning; blunt but dynamic compositions; forms outlined, cartoon like, in black, ostensibly to prevent optical mixing of hues.
, charmless helming of Richard Schenkman ("Pompatus of Love") leaves competent actors striving mightily in a void, held together by the sheer force of will of star Vanessa Williams, who is rarely let offscreen.
Like Trisha Brown, Varone has a fondness for an uninflected
lack of emphasis, creating kinetic waves of motion that seem to have a life of their own.
The photographs of children, desert dwellers, monks and shepherds are direct, uninflected
portraits of the vibrant Indian culture.
She complains about her fellow-critics, who "wrote about `The Media' as though they were a monolithic, unchanging bastion of ruling class power with a unified, uninflected
agenda of social control.
The be-setting sin of large-scale choral works, whether Beethoven's Missa Solemnis or a Busby Berkeley spectacle, is an uninflected
gradiosity that becomes tedious.
Kaurismaki's attempts to re-create the flat, uninflected
delivery of Bresson's neutral actors (or "models," as he preferred to call them) have an absurdist oddity.
His rejection of literal, uninflected
naturalism often works to his advantage, notably in his recent hit "The Goat, or, Who Is Sylvia?
In both solos (as in Accumulation with Talking Plus Water Motor, a 1986 Jonathan Demme-directed film shown at some performances, and If you couldn't see me, a 1994 work in which Brown never faces the audience), the movement is uninflected
, rippling through space in its own time, to the body's own rhythms.
Kirk, who looks a little like a young Richard Benjamin, does marvelous things with his voice: It's self-consciously flat, uninflected
and nasal, like he's trying to squeeze the feeling out of everything he says.